History of abstract art

Abstract art is now usually understood to mean art that does not portray objects in the natural world, but in its place uses shapes and colors in a non-representational or prejudiced way. In the very early 20th century, the term was more frequently used to explain art, such as Cubist and Futurist art, which depicts real forms in a cut down or rather abridged way - keeping only a reference of the original natural subject. Such paintings were frequently claimed to capture something of the depicted objects’ immutable inherent qualities rather than its exterior appearance. See Abstraction. The term non-figurative is used as a synonym

History

On White 2, 1924, by Kandinsky Non-objective art is not a creation of the twentieth century. In the Jewish and Islamic devotion the depiction of human beings was not allowed. Consequently the Islamic and Jewish cultures urbanized a high standard of decorative arts. Calligraphy is too a form of non-figurative art. Abstract designs have also existed in western culture in a lot of contexts. However, Abstract art is distinct from pattern-making in design, since it draws on the difference between decorative art and fine art, in which a painting is an entity of thoughtful contemplation in its own right.
Even before the extensive use of photography some artists, such as James McNeill Whistler were insertion greater emphasis on illustration sensation than the depiction of objects. Whistler argued that art must concern itself with the harmonious arrangement of colors, just as music deals with the harmonious deal of sounds. Whistler’s painting Nocturne in Black and Gold: The Falling Rocket (1874) is frequently seen as a main move towards abstraction. Later artists such as Wassily Kandinsky argued that modern science dealt with active forces, enlightening that matter was eventually spiritual in character: art must display the spiritual forces behind the image world. Many of these artists were prejudiced by esotericism movements such as theosophy, in which abstract “thought forms” were used to illustrate the psychic forces allegedly generated by emotions, music and other events. The work of Wassily Kandinsky and Kashmir Malevich in addition to Natalia Goncharova and Mikhail Larionov, are usually seen as the first entirely abstract paintings in 1911. Movements in modern art are to be careful in terms of the concepts which they exemplify, accompanied as they were by manifestos and declarations.



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